Carpet Premiere New Album Collision in Full; Out Friday
https://soundcloud.com/carpet-43360131/sets/carpet-collision-prelistening/s-toatP4L9yE8?si=17e9105cf81a4247a0cbfc3472b02e4c&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
[Click play above to stream Carpet’s Collision in its entirety. It’s out this Friday, March 22. At 21:30 CET today, which is 4:30PM Eastern and 1:30PM Pacific, the band will host a listening party on Bandcamp. The invite is here.]
While celebrating the 15th anniversary of their debut album, 2009’s The Eye is the Heart Mirror, Bavarian heavy progressive rockers Carpet move inexorably forward with their fifth long-player, Collision. Releasing through the duly eclectic Kapitän Platte, the seven-song/47-minute offering builds on the songwriting accomplishments of 2018’s About Rooms and Elephants (review here), harnessing an expansive but generous and welcoming sound that is thoughtful in its whole-record flow while showcasing a varied, mature character. They’re veterans of Elektrohasch Schallplatten, having released 2018’s About Rooms and Elephants (review here), 2017’s Secret Box (review here) and 2013’s Elysian Pleasures (review here) via Stefan Koglek of Colour Haze‘s now-dormant label, and heavy psychedelia is an aspect of what they do, but as the eight-minute “The Moonlight Rush” unfolds its immediately-multifaceted take, shifting from a riff-led verse through an atmospheric midsection that’s certainly not any less jazzy for the sway of Martin Lehmann‘s trumpet, into its louder payoff and through to a slowdown finish, Carpet are clear-eyed and purposeful in guiding the listener across what might otherwise be a tumultuous course. Here, one might think of it as an energetic stroll.
As the opener, “The Moonlight Rush” presents a crucial summary of some of the places Collision will go. Is it about impact, in raw sonic terms? Not as much as texture, so if one imagines the title referring to running ideas into each other and taking what works from that in terms of the material itself, that seems like a fair interpretation if not necessarily what the band meant in the choice (and it may or may not be, I don’t know). Founding guitarist/vocalist Maximilian Stephan — who released that first 2009 Carpet album as mostly a solo endeavor with some drums by Jakob Mader, who’s been on board since — is distinguished and suited to the instrumental flow in his melodic vocal approach, and while each song has its own intent as well as its own place in the entirety of the release, Stephan‘s vocals and the backing contributions of recording and mixing engineer Maximilian Wörle (presumably) in the chorus harmonies of “The Moonlight Rush,” the repeated line, “Can I just put my foot down,” in “Dead Fingers,” amid the rush of “Passage” later, and so on, are thoughtful in their arrangements and effects treatments, giving a unifying presence and drawing the material together without actually doing the same thing all the time.
Heads more attuned to the realms of desert and heavy rock will hear some Josh Homme in the sinewy semi-falsetto of “Ghosts” and centerpiece “P is for Parrot,” but it’s similarity not impersonation, and considering that the context surrounding in the latter cut is a start-stop crunch take on the angularity of King Crimson until it weaves through pastoral psych highlighting the keys from Sigmund Perner (he’s credited with Fender Rhodes and Roland Juno; I’m pretty sure I’m talking about the Juno in “P is for Parrot”) before bassist Hubert Steiner and Mader bring the group back to its initial shove, more urgently for the payoff finish, well, Carpet end up sounding more like Carpet than whatever other name one might drop. This individuality is something that’s manifest gradually over the course of the band’s time, and as much as one would call them ambitious in terms of growth — that is, actively pursuing a vision of their sound — if they’re chasing anybody, it’s themselves. The linear, almost narrative manner in which Collision unfurls highlights a dynamic that has become essential to who they are.
With malleable balance in Wörle‘s mix and breadth in Dimi Conidas‘ master, Carpet gracefully follow the plan that “The Moonlight Rush” sets out. By the time they get to nine-and-a-half-minute bookending closer “Cosmic Shape Shifter,” with its riffier, nodding resolution arriving with a swing and strut that even Uncle Acid fans should be able to appreciate, their path has veered into and through the more straight-ahead structures of “Dead Fingers,” its tolling bell in the intro serving as a memento mori complementary to the lyrics and a chorus that’s likewise catchy and sad and an emergent push in the bass as the trumpet sounds and the bell returns and the almost drawling lyrical repetitions noted above, and “Ghosts,” which in the early going of its 5:41 reimagines the beginning of Black Sabbath‘s “Children of the Grave” as shimmering bright and holds that energy for the sweep of its hook offset by a more subdued verse, en route to “P is for Parrot,” which feels like as far as they’ll go into their interpretation of ’70s groove until the boogie-in-earnest of “Passage” kicks in as the apex in that regard. The pivot from airy wash and strum at the end of “Passage” into the tropical jazzscape of the penultimate “Lost at Sea” isn’t to be discounted, and neither is the lush melodic prog that accompanies that rhythmic motion, but again, Carpet own the procession and it’s barely a hiccup one to the next in the mind of the listener despite the amount of ground actually covered.
This is the result of Carpet having already cast such a reach across the span of Collision, and “Cosmic Shape Shifter” answers with a victory lap of affirmation for what the album has presented leading to it, while underscoring the band’s overarching intent in how it digs into both its atmospheric stretch — there’s the Rhodes — and the subsequent, very much held-in-reserve groove that caps. This duality is essential to understanding who Carpet are as a band and the work their material does, but it’s no less crucial to point out that it’s only in that ending where they really seem to pair the opposite ends of that scope together — and it still works, encapsulating the poise with which “Ghosts” and “P is for Parrot” and “Passage” move into “Lost at Sea,” or how “The Moonlight Rush” and “Dead Fingers” act as complements at the outset within its own movements. Mature and considered as it feels, Collision still has outreach in its energy, and its execution leaves a warm, safe space for the listener to inhabit as the choruses ingrain themselves in the memory before departing on dreamy flights. And if you’ve ever believed progressive rock to be staid or emotionally void, Carpet provide ready counterpoint.
